\ 


Dutch  and  Flemish 
P aintings 


Blakeslee  Galleries 

Cor.  Fifth  Avenue  and  34th  Street 


-S 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/exhibitionofearlOOblak 


CATALOGUE 


EXHIBITION 


OF 

EARLY  ENGLISH,  DUTCH  AND  FLEMISH 

PAINTINGS 

AT  THE 

BLAKESLEE  GALLERIES 

353  FIFTH  AVENUE,  COR.  THIRTY-FOURTH  STREET 


NEW  YORK 
1898 


INTRODUCTION. 

ENGLISHMEN  are  nothing  if  not  patriotic.  A certain 
clannishness,  characteristic  of  the  race,  is  ever  apparent, 
and  is  a trait  that  other  nations  might  well  emulate.  Eng- 
lish painters  have,  time  out  of  mind,  found  faithful  pat- 
rons at  home.  The  magnificent  houses  of  the  nobility,  the 
palaces  of  royalty,  the  sumptuous  mansions  of  the  mer- 
chant princes,  and  the  houses  of  the  country  gentry  attest 
the  faithfulness  of  all  classes  to  the  British  artist  by  their 
splendid  collections  of  portraits  and  other  art  works,  from 
Sir  Joshua  Reynolds  to  Opie,  and  from  Constable  to 
Turner.  Calm  and  serene  in  the  satisfaction  of  his  firm 
belief  in  British  art  through  all  this  time,  the  Englishman 
may  now  see  his  idols  worshipped,  not  only  far  from  his 
own  land,  across  the  sea,  by  his  American  kinsmen,  but  by 
his  old  enemy,  the  Gaul,  for  the  Frenchman  is  in  these 
days  as  enthusiastic  as  the  stoutest  Englishman  could 
ask. 

When  a few  years  ago  our  great  collectors,  men  of 
taste  and  discrimination,  began  to  tire  of  certain  flippant 
phases  of  French  art,  when  the  group  of  Barbizon  painters 
had  been  fully  exploited  and  prices  for  their  best  work 
made  them  almost  prohibitive,  it  came  about  naturally  that 
they  turned  to  the  canvases  of  Englishmen  known  to  us 
here,  but  in  truth,  up  to  this  time,  never  fully  appreciated, 
save  by  the  few.  It  had  hitherto  been  almost  impossible  to 


find  any  of  the  best  examples  for  sale,  for  when  one  was 
offered  it  was  done  so  privately  and  generally  to  personal 
friends.  But  times  have  changed,  and  with  them  fortunes 
once  large  have  shrunk.  Stern  necessity  has  compelled 
the  owners  to  put  their  treasures  on  the  market.  Per- 
haps some  have  found  in  the  increasing  demand  oppor- 
tunities to  realize  needed  funds,  and  the  temptation  has 
been  too  great  to  resist.  Whatever  the  reason,  the  heir- 
looms have  found  their  way  to  dealer  or  auction  room,  and 
the  American  has  purchased  freely. 

Before  this  general  movement  on  the  part  of  the  collec- 
tors came  about,  however,  Mr.  Blakeslee  had  been  attracted 
to  this  school  of  sturdy,  vigorous  painters,  and  had  bought 
now  and  then  a picture  or  a portrait,  and  among  his  clien- 
tele had  found  an  occasional  purchaser  who,  it  must  be 
confessed,  bought  more  on  the  recommendation  of  the 
writer  than  on  his  own  perspicuity.  But  to  live  with  these 
paintings  and  study  them  was  to  find  revealed  day  by 
day  new  beauties  and  to  become  unconsciously  attracted 
by  reason  of  superb  color  and  the  greater  qualities  of 
humanity  contained  therein.  What  began  as  an  experi- 
ment developed  into  a veritable  craze,  and  the  demand 
grew  with  jumps  and  strides.  Others  in  the  picture  trade 
were  obliged  to  follow  the  movement.  The  greatness  of 
these  English  masters  became  apparent,  and  the  end  is  not 
yet,  for  every  now  and  then  some  sumptuous  canvas  is 
brought  over  that  comes  even  now  as  a surprise  to  show 
the  latent  power  of  the  men  who  worked  seriously  and 
honestly,  with  a definite  purpose  in  view. 

Some  recent  sales,  in  this  city,  in  London,  and  Paris,  of 
these  early  Englishmen  show  that,  apart  from  the  satis- 
faction of  the  possession  of  their  pictures  and  portraits, 
as  a matter  merely  of  investment  their  purchase  has  been 
a great  success.  The  writer  has  seen  canvases  he  has  sold 
but  a short  time  previous,  go  in  the  auction  room  at  prices 


far  in  excess  of  what  they  originally  cost,  and  he  himself 
has  bought  back  again  noteworthy  paintings  at  double  the 
price  the  first  purchaser  paid  him.  The  collection  contained 
in  this  catalogue  includes,  with  works  of  British  artists,  fine 
examples  of  painters  not  English-born,  who  yet  settled  in 
that  country,  either  through  inclination  or  by  reason  of 
royal  favor,  and  whose  art  had  a strong  influence  on  that  of 
the  race  among  whom  they  came  to  live,  namely  : Van  Dyck, 
Ravesteiju,  Janssens,  Kneller,  and  others  ; and  their  canvases 
are  historical  documents  of  the  greatest  interest  and  im- 
portance. It  is  not  strange  to  the  student  and  connoisseurs 
that  the  American  should  find  himself  drawn  to  the  great 
Englishmen,  to  whom  he  is  bound  by  ties  of  blood,  language, 
and  kinship.  While  the  subjects  they  have  painted  have 
the  sturdy  Anglo-Saxon  qualities  we  know  and  can  appreci- 
ate, and  the  frankness  of  expression,  only  surpassed  by  the 
sureness  of  their  technique,  the  thoroughness  of  the  work 
in  detail  demonstrates  the  well-equipped  workman  who 
knew  his  tools  and  wrought  out  his  own  conceptions  with- 
out having  to  bother  with  methods. 


T.  J.  Blakeslee. 


No.  U 

ANTHONY  VAN  DYCK. 

1599— 1641. 

Portrait  of  Baron  Arnold  de  Roy  of  Zuiderwyn. 

Height,  76  inches.  Width,  48  inches.  Canvas. 

It  is  rare,  indeed,  that  so  superb  an  example  of  the  great 
Flemish  painter’s  handiwork  as  this  remarkable  portrait  is 
found  in  the  European  markets,  much  less  in  those  here  in 
America.  But  the  opportunity  has  come  through  a happy 
chance,  and  this  large  and  important  canvas  has  crossed 
the  ocean  to  find  a place  in  some  American  collection.  A 
description  of  the  picture  conveys  only  unsatisfactorily  its 
excellence,  for  it  possesses  those  qualities  of  sympathetic 
rendering,  the  masterly  brush-work  and  the  individuality, 
impossible  to  express  in  words,  of  one  of  the  greatest  artists 
of  all  times.  The  likeness  is  of  a nobleman  of  Van  Dyck’s 
day,  clad  in  a dress  of  black,  relieved  only  by  cuffs  and  a 
ruff  of  white.  One  arm  rests  on  the  back  of  a chair,  and 
the  other,  half-gloved,  is  on  the  hip.  The  figure  is  stand- 
ing, full  face  to  the  spectator,  and  at  one  side  there  are  a 
glimpse  of  sky,  distant  landscape,  and  a touch  of  deep  red 
in  the  fold  of  a curtain.  Full  of  dignity,  the  man  looks 
with  expressive  eyes  out  of  the  canvas.  The  face  is  painted 
with  rare  simplicity  and  directness,  and  the  hands  have  grace 


and  elegance  and  the  marvellous  qualities  of  drawing  and 
construction  for  which  Van  Dyck  was  noted.  The  blacks 
of  the  costume  are  treated  with  consummate  skill,  being 
luminous,  wonderfully  held  together,  and  quite  without  any 
feeling  of  heaviness.  Indeed,  the  whole  conception  of  the 
composition  is  reposeful,  dignified,  and  forceful.  One  may 
search  in  vain  in  all  the  great  collections  where  this  genius 
is  represented  to  find  a more  worthy  example  or  one  that 
is  more  thoroughly  representative. 


No.  2. 

GEORGE  HENRY  HARLOW. 

1787 — JSJ9. 

Lord  Byron. 

Height,  30  inches.  Width,  25  inches. 

Harlow  was  a pupil  of  Sir  Thomas  Lawrence,  and  it  is 
allowed  that  he  entered  more  largely  into  the  peculiar  style 
and  character  of  that  master’s  performances  than  any  other 
of  his  pupils.  His  success  was  great,  and  must  be  attrib- 
uted solely  to  himself,  for  Lawrence,  though  he  employed 
him  in  forwarding  portraits,  never  condescended  to  instruct 
him  further  than  how  to  accomplish  that  drudgery.  Har- 
low, after  separating  from  Lawrence,  painted  portraits  of 
many  of  the  celebrities,  among  them  Benjamin  West,  the 
Kemble  family,  Sir  William  Beechey,  Northcote,  Stothard, 
Fuseli,  and  the  Countess  of  Essex. 


No.  3. 


WILLIAM  DOBSON. 

X6J0 — X646. 

Portrait  of  Henrietta  Maria,  Wife  of  Charles  I., 
King  of  England. 

Height,  50  inches.  Width,  38  inches. 

There  is  probably  no  problem  for  the  painter  more  dif- 
ficult than  the  realization  of  the  subtleties  of  feminine 
beauty.  This  charming  portrait  is  well-nigh  flawless,  for 
there  seems  nothing  lacking  in  grace,  loveliness,  or  exquisite 
color.  The  wistful,  well-bred  face,  with  soft  eyes  looking 
at  the  beholder  ; the  wealth  of  hair,  of  that  glorious  tint 
that  poets  and  painters  rave  over;  the  delicately  modelled 
hands,  dainty  in  their  refinement,  and  the  beautiful  neck 
and  shoulders,  are  expressed  with  an  unction  and  an  ele- 
gance befitting  the  royal  subject,  and  are  painted  with  per- 
fect understanding  of  the  medium.  With  a pale-yellow 
gown,  softened  here  and  there  with  lace,  the  quiet  note  of 
pink  in  the  flowers  loosely  held  in  the  hands  harmonizes 
perfectly.  The  woman  stands  here  an  embodiment  of 
delicious,  dainty  womanhood,  whom  to  see  is  to  admire,  and 
whom  to  study  carefully  is  to  remember  always. 

On  the  death  of  Van  Dyck,  Dobson  was  created  sergeant  painter 
and  groom  of  the  chamber  of  Charles  I. 


“The  colouring  and  style  of  this  master’s  pictures  strikingly  resem- 
ble those  of  Van  Dyck.  His  portraits  are  always  distinguished  by  a 
noble  and  dignified  air ; the  attitudes  are  graceful  and  animated. 
Among  many  excellent  pictures  by  his  hand  may  be  instanced  a family 
group  in  the  Marlborough  collection  ; a portrait  of  Prince  Charles  clad 
in  armour,  in  the  possession  of  the  family  of  the  late  Sir  Eliab  Harvey  ; 
an  admirable  portrait  of  a gentleman,  quite  worthy  the  name  of  Van 
Dyck,  in  the  collection  of  Edward  V.  Utterson.” — Smith’s  “Catalogue 
Raisonng.” 

“ Of  the  painters  of  his  time,  Dobson  approaches  nearest  to  Van 
Dyck.  There  are  in  the  National  Portrait  Gallery  paintings  by  Dobson 
of  himself;  Sir  Henry  Vane,  the  younger  ; Francis  Quarles,  the  poet ; 
and  Endymion  Porter  ; and  at  Hampton  Court  there  is  a portrait  of  him- 
self and  his  wife,  and  portraits  of  two  gentlemen.” — Bryan’s  “ Dictionary 
of  Painters.” 


No.  4. 


SIR  DAVID  WILKIE. 

1785— 1841. 

Exhibited  in  the  Royal  Academy  in  1835. 

Christopher  Columbus  Submitting  the  Chart  of  his 
Intended  Voyage  for  the  Discovery  of  the  New 
World  to  the  Spanish  Authorities. 

Height,  58  inches.  Width,  74  inches. 

The  idea  of  this  picture  was  found  in  the  “ Life  of 
Columbus,”  by  Washington  Irving. 

“A  stranger  travelling  on  foot,”  says  the  accomplished 
biographer,  “ accompanied  by  a boy,  stopped  one  day  at  the 
gate  of  a convent  of  Franciscan  friars,  and  asked  for  bread 
and  water  for  the  child.  Friar  Juan  Perez  de  Marchena 
happening  to  pass,  was  struck  with  the  appearance  of  the 
stranger,  and  observing  from  his  air  and  accent  that  he  was 
a foreigner,  entered  into  conversation  with  him.  That  stran- 
ger was  Columbus.” 

The  conference  which  followed,  remarkable  for  open- 
ing brighter  prospects  in  the  fortune  of  Columbus,  forms 
the  subject  of  the  picture.  He  is  represented  seated  at  the 
convent  table,  with  the  prior  on  his  right,  to  whom  he  is 
submitting  a chart  of  his  contemplated  voyage.  Beside 


him  is  his  son  Diego,  with  a small  Italian  greyhound,  while 
on  the  other  side  of  the  table  is  the  physician,  Garcia  Fer- 
nandez, who,  from  scientific  knowledge,  approved  of  the 
enterprise.  Behind  him  is  Martin  Alonzo  Pinzon,  one  of 
the  most  intelligent  sea  captains  of  his  time,  and  who  ac- 
companied Columbus  on  his  voyage.  This  picture  was 
painted  for  Mr.  Holford,  and  remained  in  the  family  until 
recently  purchased. 


No.  5. 

JAN  LOOTEN. 

1618— I68J. 

Landscape  and  Forest  Interior. 

Height,  40  inches.  Width,  50  inches. 

This  noble  picture  was  formerly  in  the  collection  of 
Baron  Hirsch. 

“ Looten  painted  in  England  during  the  reign  of  Charles 
II.  The  Berlin  Gallery  has  a landscape  with  a stag  hunt, 
dated  1659 ; the  Cassel  Gallery,  a hunting  scene.  Three 
landscapes  are  in  the  Dresden  Gallery.  The  National  Gal- 
lery has  a very  fine  example  in  the  Dutch  room,  a river 
scene  with  figures.  Looten’s  works  are  also  in  many 
private  galleries  in  England.” — Bryan’s  “ Dictionary  of 
Painters.” 


No.  6. 


SIR  GODFREY  KNELLER. 

1648 — J 723. 

Marriage  at  St.  Catharine. 

Height,  58  inches.  Width,  60  inches. 

Born  at  Lubeck,  1648,  and  was  a pupil  of  Bol,  at  Amster- 
dam. He  came  to  England  in  1674,  and  gaining  the 
patronage  of  the  Duke  of  Monmouth,  was  presented  to 
Charles  II.,  and  painting  that  monarch’s  portrait  satisfac- 
torily, was  induced  to  stay  in  the  country.  He  made  sev- 
eral pictures  of  his  royal  patron,  and  was  sent  by  him  to 
Paris  to  paint  a portrait  of  Louis  XIV.  He  was  equally 
in  favor  with  James  II.,  and  the  death  of  Lely  left  him 
without  a rival.  He  painted  no  less  than  ten  sovereigns. 
Was  state  painter  to  Charles  II.,  James  II.,  William  III. 
(who  knighted  him  in  1692),  Queen  Anne,  and  George  I. 
(who  created  him  a baronet  in  1715).  It  is  needless  to  add 
he  was  in  great  favor  with  the  fashionable  world.  He  died 
in  1723. 


No.  7. 

JANSSENS  (CORNELIS)  VAN  CEULEN. 

1 594— I 664. 

Portrait  of  Henry,  Prince  of  Wales,  Son  of  James 
I.,  Brother  of  Charles  I. 

Height,  30  inches.  Width,  25  inches. 

A SUPERB  head  and  bust,  the  figure  clothed  in  a black 
doublet,  with  slashed  sleeves  and  a collar  of  lace  exquisitely 
painted  in  the  greatest  detail.  The  young  patrician  face, 
seen  in  three-quarter  view,  is  beautifully  modelled  ; the  eyes 
have  a lifelike  expression,  and  the  serious  mouth  is  sur- 
mounted with  a faint  moustache.  The  features  are  ad- 
mirably indicated  with  rare  precision  and  knowledge,  and 
the  brown  hair  falls  in  long,  graceful  waves.  About  the 
waist  is  a sash  or  belt  of  red.  The  canvas  is  one  of  the 
most  representative  works  by  this  famous  Dutchman  ever 
seen  in  this  country. 

Some  of  Janssens’  best  pictures  are  portraits  of  Charles  I. 
(at  Chatsworth  House),  the  Duke  of  Buckingham  (Welbeck 
Abbey),  William  Harvey  (Royal  College  of  Physicians),  Sir 
Christopher  and  Lady  Neville  (Wroxton  Hall),  Admiral 
Pennington  (Lord  Tollemache). 


No.  8. 


THOMAS  UWINS,  R.A. 

1 782— 1 857. 

Undine. 

Height,  56  inches.  Width,  45  inches. 

The  attraction  of  feminine  beauty  is  potent,  no  matter 
what  the  time  or  conditions,  and  the  thoroughly  English 
type  this  able  British  painter  gives  here,  is  full  of  insidious 
grace.  The  figure  is  seated  in  the  wood,  arranging  her  hair, 
one  hand  thrown  over  her  head,  while  in  her  lap  are  flow- 
ers. The  face  is  in  shadow  and  the  body  is  nude,  from  the 
waist  up,  while  over  the  torso  and  parts  of  the  flesh  the 
sunlight  flickers  here  and  there.  There  are  a smiling  ex- 
pression on  the  woman,  a grace  and  charm  about  the  move- 
ment, and  a richness  about  the  color  that  are  admirably 
expressed.  In  the  distance  a glimpse  of  sky  is  seen 
through  the  woodland,  while  the  draperies  are  arranged  in 
easy  folds. 


No.  9. 


RICHARD  PARKES  BONINGTON. 

JSOJ — JS2S. 

On  the  French  Coast. 

Length,  14  inches.  Width,  12  inches. 

Born  in  England  in  1801.  Of  the  most  ordinary  parent- 
age, this  great  painter  was  taken  at  an  early  age  to  Paris, 
where,  at  the  age  of  fifteen,  he  began  his  studies  at  the 
Louvre,  and  subsequently  became  a pupil  of  Baron  Gros. 
Although  he  died  before  he  was  barely  twenty-seven  years 
old,  his  career  was  something  meteoric,  for  he  enjoyed  a 
vogue  not  only  in  his  native  country,  but  in  France  as  well. 
In  1870  his  “Henry  IV.  and  the  Spanish  Ambassador” 
brought  at  public  sale  in  Paris  the  remarkable  price  of 
$16,500.  His  talent  was  by  no  means  limited  to  landscape 
art,  for  he  drew  surprisingly  well  the  figure,  the  ocean,  and 
genre  subjects. 


No.  10. 

RICHARD  WESTALL,  R.A. 

1765 — 1836. 

An  English  Forest. 

Length,  44  inches.  Width,  34  inches. 

Born  in  Hertford,  England,  1765.  A pupil  of  the  Royal 
Academy  Schools,  and  tutor  in  art  to  the  present  Queen, 
then  Princess  Victoria.  Was  made  a Royal  Academician 
in  1794,  and  one  of  his  large  paintings  adorns  the  altar 
of  All  Souls’  Church,  Langham  Place,  London.  He  did 
figures  and  portraits  as  well  as  landscapes,  but  the  rarity 
as  well  as  the  excellence  of  the  latter  make  them  highly 
prized.  He  died  December  4,  1836,  aged  71. 


No.  U 


SIR  NATHANIEL  DANCE,  R.A. 

J734— I8U. 

Lady  Cooper  and  Children.  The  Wife  of  Sir  Gray 
Cooper,  Bart.,  of  Nova  Scotia,  Secretary  of 
Lord  North  in  1770. 

Height,  48  inches.  Width,  58  inches. 

A MOTHER  and  her  four  children,  admirably  and  grace- 
fully posed  against  a heavily  embroidered  curtain,  with  a 
glimpse  of  landscape  and  sky  on  the  left.  The  painter  has 
been  highly  successful  in  his  rendition  of  the  charming 
delicacy  of  child-life,  while  his  color  is  soft,  harmonious, 
and  pleasing.  The  piquancy  of  the  little  ones,  the  natural- 
ness of  arrangement,  and  the  daintiness  all  about,  make 
this  one  of  the  painter’s  most  successful  efforts,  while  the 
young  matron,  proudly  conscious  of  the  beauty  and  attrac- 
tiveness of  her  boys  and  girl,  is  invested  with  much  beauty 
and  quiet  dignity. 

Dance  was  a son  of  the  architect  who  built  the  Mansion 
House,  the  official  residence  of  the  Lord  Mayor  of  London. 
He  was  a painter  of  historical  subjects  and  portraits,  Foun- 
dation Member  of  the  Royal  Academy,  and  he  married  a 
rich  lady  of  Hampshire.  Coming  in  for  a large  fortune,  he 
painted  thereafter  only  such  pictures  as  appealed  to  him. 
Many  of  his  works  pass  for  those  of  Sir  Joshua  Reynolds. 
Some  of  his  portraits  include  two  full  lengths  of  George 
III.  and  his  Queen;  full  length  of  Garrick,  as  Richard  III., 
and  Captain  Cook,  now  at  the  Greenwich  Hospital. 


/ 


No.  12. 

SIR  MARTIN  SHEE,  P.R.A. 

1769 — 1850. 

Frances,  Wife  of  Henry  Robinson,  Esq. 

Height,  96  inches.  Width,  58  inches. 

President  Royal  Academy  from  1830  to  1845.  A por- 
trait painter  of  distinction.  Born  in  Ireland,  1769.  He  had 
many  royal  sitters,  including  the  Duke  of  Clarence,  Wil- 
liam IV.,  and  Queen  Adelaide,  as  well  as  Her  Majesty, 
Queen  Victoria,  and  he  painted  a number  of  theatrical 
portraits,  among  them  Lewis,  Stephen  Kemble,  Pope,  and 
Fawcett.  Occasionally  he  evolved  classical  compositions, 
but  his  reputation  rests  mainly  on  his  portrait  work. 


No.  1 3. 

SIR  JOSHUA  REYNOLDS. 

1723—1792. 

Portrait  of  Mr.  Musters. 

Height,  30  inches.  Width,  25  inches. 

A FRANK,  directly  painted  portrait  of  an  English  gentle- 
man, executed  in  1777.  The  certain  brush-work,  luscious 
color,  and  sturdy  honesty  of  the  great  English  artist  are  all 
apparent  here,  and  the  work  is  eminently  characteristic  of 
his  talent.  With  subdued  tones  in  dress  and  background, 
the  face  takes  on  its  full  value  in  realism  and  expression, 
while  the  anatomical  construction  is  superbly  rendered.  A 
unique  interest  attaches  itself  to  this  canvas  because  of  it 
being  a companion  picture  to  one  of  Mr.  Muster’s  wife,  a 
portrait  now  hanging  in  the  National  Gallery  in  London. 
It  was  painted  by  Sir  Joshua  about  the  same  time,  and, 
possessing  the  same  qualities  seen  in  the  present  example, 
is  justly  esteemed  among  the  treasures  of  the  great  British 
national  collection. 


No.  14. 

GUSTAV  RICARD. 

1824— 1 873. 

Little  Girl  with  Dog. 

Height,  21  ^2  inches.  Width,  16  inches. 

This  charming  picture  of  a little  girl  with  a dog  in  her 
arms  comes  from  the  collection  of  Maurice  Kann,  and  was 
shown  in  the  famous  Cent  Chef  d’CEuvres,  exhibited  at  the 
Petit  Galleries  in  Paris  in  1892.  It  is  a delightful  rendi- 
tion of  child  life,  tender  and  dainty  both  in  color  and  con- 
ception. The  roguish  eyes,  the  expressive  mouth,  and  the 
brilliant  youthful  flesh  tones  are  given  with  genuine  artis- 
tic feeling.  The  dog  is  indicated  simply,  and  the  little 
hands  clasped  about  his  neck  are  gracefully  posed  with 
naturalness  and  freedom.  All  the  subtleness  of  the  child 
are  portrayed  with  full  appreciation  of  the  charm  of  in- 
fancy, while  the  size  and  general  arrangement  of  the  canvas 
are  fully  satisfactory. 


No.  15. 


HENRY  HOWARD,  R.A. 

\ 769— 1847. 

Hebe  Feeding  the  Bird  of  Jove. 

Height,  54  inches.  Width,  78  inches.  Canvas. 

“A  PAINTER  of  poetical  and  classical  subjects.  Was  born 
in  London  in  1769.  In  1800  he  was  elected  an  Associate 
of  the  Royal  Academy,  and  in  1808  an  Academician.  He 
became  secretary  of  that  institution  in  1811,  and  professor 
of  painting  in  1833,  and  the  duties  of  these  offices  he  ful- 
filled until  a few  months  previous  to  his  decease,  which 
occurred  at  Oxford  in  1847.  As  professor  of  painting  at 
the  Royal  Academy  he  delivered  a course  of  lectures  to 
the  students,  which  are  remarkable  for  the  views  they  take 
of  art  in  its  higher  qualities  as  well  as  for  the  clearness  and 
elegance  of  their  diction.” — Bryan’s  “ Dictionary  of  Paint- 
ers.” 

The  following  are  some  of  Howard’s  best  known  works : 
The  Flower  Girl,  National  Gallery;  The  Pleiades,  Duke  of 
Sunderland  ; Sabrina,  South  Kensington  Museum  ; Pygma- 
lion, South  Kensington  Museum  ; The  House  of  Morpheus, 
Lord  Leconfield  ; The  Story  of  Pandora,  Sloane  Museum ; 
Hylas  Carried  Off  by  the  Nymphs,  Lord  Leconfield. 


\ 


No.  16. 


DAVID  TENIERS  THE  YOUNGER. 

1610— 1694. 

A Game  of  Cards. 

Height,  9 inches.  Width,  13^  inches. 

This  unusually  well-preserved  and  happily  composed 
example  of  the  famous  Dutch  genre  painter  represents  one 
of  his  characteristic  groups  of  peasants  gathered  about  a 
table  in  a room.  Two  of  them  are  engaged  at  a game  of 
cards,  and  the  others  are  attending  the  result  with  much 
interest.  In  a far  corner  by  the  fireplace  two  more  men 
are  drinking  and  talking.  The  crowd  by  the  players  are  a 
study  of  expression  and  interest,  while  the  participants 
themselves  are  capitally  rendered.  The  drinking,  royster- 
ing  spirit  of  the  times  is  admirably  conveyed  ; the  types  are 
portrayed  in  almost  microscopic  detail,  and  the  accessories, 
as  in  all  of  Tenier’s  work,  are  marvels  of  still-life  painting. 
Note  a little  jug  to  the  left  and  a hat  hung  carelessly  on 
the  back  of  the  chair.  Both  are  exquisitely  done,  though 
it  is  of  course  in  the  faces  that  the  artist  has  expended 
great  thought  and  care,  and  these  are  remarkable  for  their 
research  and  study. 


No.  17. 

WILLIAM  ETTY,  R.A. 

\ 787— 1 849. 

The  Rescue. 

Height,  35  inches.  Width,  25  inches. 

BORN  in  York,  England,  1787.  Etty  was  a born  artist, 
and  devoted  his  whole  life  to  the  study  of  his  profession, 
taking  little  pleasure  in  anything  else,  and  achieving  a suc- 
cess that  comes  to  few  men,  artistically  and  financially,  for  he 
died  a comparatively  rich  man.  His  especial  delight  was  in 
painting  the  beauty  of  the  female  form,  and  to  a fine  equip- 
ment in  drawing  he  added  a grandeur  of  color  thoroughly 
in  harmony  with  splendid  conceptions.  His  historical 
compositions  are  famous.  He  was  made  an  R.A.  in  1824, 
and  he  died  in  1849.  There  are  no  less  than  twelve  of 
Etty’s  paintings  in  the  National  Gallery,  London,  and 
three  in  the  South  Kensington  Museum,  and  four  in  the 
National  Gallery  in  Scotland. 


No.  18. 


JOHN  CONSTABLE,  R.A. 

1776—1837. 

On  the  Stour — Suffolk. 

Height,  25  inches.  Width,  36  inches. 

From  the  collection  of  William  H.  Fuller. 

The  father  of  modern  landscape  art,  this  splendid  painter 
never  lived  to  obtain  the  full  appreciation  to  which  he  was 
entitled  by  his  genius  and  which  the  world  has  since  ac- 
corded him.  Working  always  with  great  sincerity,  painting 
simple  fine  motives  of  English  landscape,  with  now  and 
then  the  sea,  he  labored  conscientiously  before  nature  and 
gave  the  keynote  to  the  world  of  artists  who  succeeded 
him.  He  was  born  in  1776,  and  died  at  sixty-one  years  of 
age,  leaving  behind  him  a worthy  record  of  magnificent 
pictures,  that  to-day  are  held  among  the  great  works  of 
art.  He  had  the  courage  of  his  convictions,  and  he  blazed 
a path  for  himself,  for  at  a time  when  men  were  painting 
the  exterior  views  of  nature,  he  went  at  the  soul  of  his  sub- 
ject, and  he  invested  what  he  saw  with  his  own  strong, 
virulent  personality,  evolving  glorious  color  and  giving  to 
the  most  prosaic  of  motives  an  engaging  sentiment  entirely 
his  own. 


No.  19. 


SIR  HENRY  RAEBURN. 

1 756— 1823. 

Sir  Patrick  Inglis. 

Height,  50  inches.  Width,  40  inches. 

VIGOROUS  masculine  portrait  of  a gentleman  seated  in 
an  armchair,  holding  hat,  gloves,  and  cane  in  his  hands. 
The  prevailing  tones  of  brown  are  most  harmonious,  and 
bring  out  with  fine  decision  a strong,  intellectual  face,  ad- 
mirably and  simply  painted  with  masterful  touch. 

Raeburn  was  born  in  Scotland  in  1756,  where  he  reckoned 
the  greater  part  of  the  distinguished  men  of  his  time  among 
his  sitters  and  friends,  including  the  mountain  chiefs  Mac- 
Donalds, MacKenzies,  Campbells,  Bruces,  Scott,  Duffs, 
Gordons,  Douglases,  Hamilton,  and  many  others.  Knighted 
by  George  IV.  1822,  and  appointed  Scottish  court  painter. 
An  exhibition  of  his  collected  works  held  at  Royal  Scottish 
Academy,  in  Edinburgh,  1876;  Winter  exhibition,  R.  A., 
London,  1877,  and  at  the  Grafton  Galleries  in  1895.  His 
work  has  steadily  increased  in  reputation,  until  to-day  he 
ranks  with  Reynolds,  Gainsborough,  and  Romney. 


No.  20. 


PETER  NASON. 

1636 — 1700. 

Portrait  of  a Dutch  Lady. 

Height,  SO  inches.  Width,  40  inches. 

Nason  was  born  at  Amsterdam.  He  was  a member  of 
the  Guild  of  Painters,  and  in  1656  was  one  of  the  forty- 
seven  members  who  established  the  Picture  Society.  He 
painted  the  portraits  of  Prince  Mauritz  and  of  Charles  II. 
of  England  and  of  the  Grand  Elector  of  Hanover  (full- 
length  portrait,  dated  1667).  There  are  pictures  by  him  in 
the  various  museums  in  Europe. 


No.  21. 

F.  GUARDI. 

1712 — J793. 

A Gondola  Race  on  the  Grand  Canal,  Venice. 

Height,  9^  inches.  Width,  133^  inches.  Panel. 

The  view  is  taken  in  the  direction  of  the  Ponte  Rialto, 
on  the  left  of  the  Palazzo  Balbi.  From  the  collection  of 
Sir  Andrew  Fontaine,  Narford  Flail,  Norfolk,  1894.  Sir 
Julian  Goldsmid  collection.  Exhibited  at  the  Venetian  Art 
Exhibition,  New  Gallery,  1894  and  1895. 


No.  22. 


GEORGE  MORLAND. 

\ 763— 1804. 

The  Storm. 

Height,  28  inches.  Width,  36  inches. 

MORLAND  was  born  in  London,  1763.  The  usual  tales 
of  youthful  precocity  are  told  of  the  painter’s  childhood. 
He  drew  on  dusty  tables  at  the  age  of  three  ; at  four  he 
was  surprised  at  work  in  the  parental  studio  of  Benjamin 
West,  when  his  father  sent  him  off  with  a kick  and  the 
remark  that  he  would  either  be  hanged  or  a genius.  It  is 
said,  at  the  expiration  of  his  apprenticeship  to  his  father, 
Romney  offered  to  take  him  into  his  own  house,  in  Caven- 
dish Square,  with  an  annual  salary  of  three  hundred  pounds, 
on  condition  of  his  signing  articles  for  three  years.  This 
offer  Morland  refused.  Morland  experienced  a curious 
career.  Living  far  beyond  his  means,  he  became  deeply 
involved,  and  many  of  his  celebrated  pictures  were  painted 
when  he  was  in  seclusion,  to  elude  his  creditors.  Mor- 
land’s  good  work  stands  very  high  in  the  estimation  of 
connoisseurs.  His  paintings  are  in  the  National  Gallery 
and  at  South  Kensington  Museum,  also  in  the  Glasgow 
Gallery.  Nearly  two  hundred  and  fifty  of  Morland’s  pic- 
tures have  been  engraved. 


No.  23. 


JANSSENS  (CORNELIS)  VAN  CEULEN. 

1594-1664. 

Portrait  of  a Lady. 

Length,  35  inches.  Width,  44  inches. 

The  face  is  thoughtful  and  refined  and  full  of  gentle- 
ness, while  the  hands  are  painted  with  the  most  elaborate 
detail,  though  without  smallness.  The  velvet  robe  is  sug- 
gested with  simplicity. 

Janssens  visited  England  in  1618.  Here  he  met  with 
very  flattering  encouragement,  and  was  taken  into  the  ser- 
vice of  James  I.,  whose  portrait  he  painted  several  times. 
One  of  his  finest  portraits  was  that  of  Sir  George  Villiers, 
father  of  the  famous  Duke  of  Buckingham.  Janssens  was 
less  employed  after  the  arrival  of  Van  Dyck,  although  he 
remained  in  England  until  1648. 


No.  24. 

THOMAS  GAINSBOROUGH,  R.A. 

1727—  \ 788. 

The  Market  Cart. 

Height,  20  inches.  Width,  24 yz  inches. 

From  the  collection  ofWm.  H.  Fuller. 

“ A TYPICAL  summer  day,  bright,  flashing  with  sunlight. 
From  the  foreground  a country  road  winds  between  rough 
hillocks.  On  the  left,  leading  towards  a distant  village,  a 
great,  white,  dome-shaped  cloud,  brilliant  in  light,  comes  in 
sharp  contrast  with  dark-green  treetops  in  the  middle  of 
the  picture. 

“The  whole  strength  of  the  palette  and  the  full  scale  of 
colors  have  been  employed  in  treating  this  effect  of  light. 
The  market  cart  gives  a name  to  the  picture  and  at  the 
same  time  furnishes  a pleasant  note  in  the  composition  ; 
but  the  great  moving  purpose  of  the  painter  was  to  present 
a striking  opposition  between  the  dark  rich  greens  of  the 
landscape  and  a great  white  cloud,  whose  brilliancy  they 
heighten  as  it  floats  away  in  a pale-blue  fathomless  sky.” 


No.  25. 


RAVESTEIJN  (JAN  ANTHONISZ  VAN). 

About  1572— \ 657. 

Portrait  of  a Young  Lady. 

“ A CELEBRATED  portrait  painter,  born  at  The  Hague. 
Was  a pupil  of  Frans  Hals,  whose  early  style  he  closely  fol- 
lowed. He  was  scarcely  surpassed  by  any  of  his  country- 
men in  the  particular  branch  of  art  which  he  practised,  if  we 
except  Rembrandt,  Hals,  and  Von  der  Heist.  Ravesteijn’s 
portraits  are  characterized  by  a peculiar  nobility  in  the  car- 
riage of  his  sitters  and  by  a fine  largeness  of  conception. 
His  paintings  may  be  found  in  the  Amsterdam  Museum, 
Berlin  Gallery,  Munich  Pinakothek,  The  Hague,  and  Dres- 
den.”— Bryan’s  “ Dictionary  of  Painters.” 

A decided  charm  of  quaintness  in  costume,  treatment,  and  general 
pose  of  the  model  characterizes  this  interesting  canvas,  which  repre- 
sents a patrician  woman  of  Flanders,  with  great  ruff  and  a head-dress 
and  cuffs  of  lace.  In  her  right  hand,  which  is  gloved,  she  holds  a 
gauntlet.  The  gown  of  black  is  embroidered  in  gold,  and  about  her 
neck  is  a string  of  pearls.  The  head  is  painted  in  great  detail,  but 
broadly  enough  to  leave  no  suspicion  of  over-elaboration,  and  the  color 
is  as  fresh  as  when  the  work  was  first  sent  out  from  the  artist’s  studio. 
In  drawing  and  modelling  there  is  nothing  left  to  be  desired,  while  the 
brilliancy  of  the  light  and  the  interesting  arrangement  of  the  canvas 
make  this  picture  exceptionally  attractive. 


No.  26. 

NATHANIEL  HONE,  R.A. 

J7JS — J7S4. 

The  Artist. 

Height,  50  inches.  Width,  40  inches. 

Hone  was  celebrated  as  a miniature  painter  of  great  re- 
pute as  well  as  a portrait  painter.  He  was  a Member  of 
the  Incorporated  Society  of  Artists,  also  one  of  the  founda- 
tion members  of  the  Royal  Academy.  He  was  a constant 
exhibitor  of  portraits  at  the  academy  from  its  foundation 
to  his  death  in  1784. 


No.  27. 


SIR  HENRY  RAEBURN. 

1756 — 1823. 

Portrait  of  Dr.  Walker. 

RAEBURN  was  born  in  Scotland  in  1756,  where  he  reck- 
oned the  greater  part  of  the  distinguished  men  of  his  time 
among  his  sitters  and  friends,  including  the  mountain  chiefs 
MacDonalds,  MacKenzies,  Campbells,  Bruces,  Scott,  Duffs, 
Gordons,  Douglases,  Hamilton,  and  many  others.  Knighted 
by  George  IV.  1822,  and  appointed  Scottish  court  painter. 
An  exhibition  of  his  collected  works  held  at  Royal  Scottish 
Academy,  in  Edinburgh,  1876;  Winter  exhibition,  R.  A., 
London,  1877,  and  at  the  Grafton  Galleries  in  1895.  His 
work  has  steadily  increased  in  reputation,  until  to-day  he 
ranks  with  Reynolds,  Gainsborough,  and  Romney. 


No.  28. 


CLAUDE  LE  FEBVRE. 

1633 — 1675. 

Gentleman.  Time  of  James  II. 

Length,  30  inches.  Width,  25  inches. 

“A  French  portrait  painter.  Born  at  Fontainebleau. 
In  1663  he  was  received  a Member  of  the  Academy,  on 
which  occasion  he  painted  the  portrait  of  Colbert.  After 
this  he  went  to  England,  and  met  with  great  encourage- 
ment at  the  court  of  Charles  II.  He  died  in  Paris  in  1675. 
Two  of  his  portraits  are  in  the  Louvre.  The  National 
Portrait  Gallery  has  a portrait  by  him  of  Isaac  Barrow.” 


No.  29. 


RICHARD  WILSON,  R.A. 

1714 — 1782. 

On  the  Arno. 

Height,  40  inches.  Width,  50  inches. 

This  distinguished  landscape  painter  was  born  in  Mont- 
gomeryshire in  1714.  Wilson  did  not  at  once  attain  suc- 
cess, partly  from  the  inability  of  the  public  to  recognize  his 
merits,  partly  from  the  jealousy  of  some  of  his  contempo- 
raries, and  partly  from  his  own  unconciliatory  disposition. 
He  lost  the  favor  of  the  court  by  an  unfortunate  outburst 
of  temper. 

Having  painted  a view  of  Sion  House  for  the  King,  he 
submitted  it  to  Lord  Bute,  who  objected  to  the  price  de- 
manded (sixty  guineas);  thereupon  the  painter  angrily 
retorted  that  if  the  King  could  not  pay  for  it  all  at  once, 
he  would  take  it  in  installments.  Although  he  was  chosen 
a foundation  Member  of  the  Royal  Academy  in  1768,  he 
had  still  long  to  struggle  with  poverty. 

Wilson’s  pictures  are  scattered  throughout  the  private 
collections  of  England  ; also,  the  National  Gallery  contains 
nine,  the  South  Kensington  Museum  five,  the  Glasgow 
Gallery  six,  and  two  in  the  National  Gallery  at  Edinburgh. 

In  color,  composition,  and  aerial  truth  few  landscape 
painters  have  equalled  and  none  excelled  him.  Some  of 
his  pictures  have  been  very  finely  engraved  by  Woollett. 


GETTY  CENTER  LIBRARY 

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